10) Leslie Kong The “King” Kong Compilation (The Historic Reggae Recordings 1968-1970) (1981)
Kong was among the most famous reggae producers and label owners and it was his records–by Desmond Dekker, Jimmy Cliff, The Pioneers, Toots and the Maytals–that broke the music internationally. All his big stars except Cliff are represented here and, while the music hardly lacks a political edge, Kong’s artists seemed to prize spiritual concerns above all.
Dekker’s records (especially “The Israelites”) are likely the ones recognizable to general American audiences (Cliff broke really big after Kong’s untimely death, producing his own biggest hits in a style clearly influenced by Kong’s earlier productions for him, fair enough since he was the one who induced Kong to start a recording label in the first place–both Cliff and Desmond Dekker reported undergoing deep spiritual crises after Kong died, which perhaps speaks to the sort of man it took to produce these visionary sides). In 1970, Kong wanted to release a comp of early tracks he had cut on Bob Marley’s Wailers. Bunny Wailer allegedly threatened to put a curse on him if he did so. Kong released the record anyway and died within the year.
That’s one theory on his unfortunate demise. My own involves the C.I.A.
I only had to hear this record once to know it wasn’t God.
9) The Beatles(1962-1966) (1973)
The “Red” album (and the accompanying Blue album, about which more in a minute) is how a lot of us who just missed the sixties got to know the Beatles. Well that and the air, where, like Elvis (and no one else, then or now), they were ever-present.
And, from this distance, this is still the best way to learn (or relearn) just how astonishing they were. Yes, there are dozens of tracks from the period I wouldn’t want to live without that aren’t here….But if you just want the essence, this can hardly be bettered. I bought this a week or two after I skipped my senior prom and took my mom to see I Wanna Hold Your Hand instead. In a life filled with mistakes, that might be the best series of decisions I ever made.
8) The Beatles1967-1970 (1973)
I’ve always been an “early Beatles” devotee…and I’ve always known how silly the distinction is. This does just as fine a job of narrating their fall as the Red album does their rise. Hearing it now (after not having listened to it for a few years while watching more than the usual amount of water flow beneath the bridge) I can hear a lot of brilliance I previously cottoned to only as craft. (“Old Brown Shoe” anyone? “Let It Be?” I could go on.)
I’ve always leaned toward them having broken up at the right time, too–a feeling once locked into place by hearing “Ob-La-Di, Ob-La-Da” segue into “Honky Tonk Women” on an oldies station…Ouch!.
But “Ob-La-Di, Ob-La-Da” was the only thing I heard this time that didn’t make me wonder if I’d been wrong all along.
I can say all that and still admit I’ve never believed they meant a word of it, or needed to. I just don’t know if it makes me better or worse than those who need to believe otherwise.
7) Blondie (1976)
A stunning debut that, unsurprisingly, went mostly unnoticed at the time because Debbie Harry had dropped in from another planet. The look was futuristic with a pre-civilizational undertow (and who could resist that combo), but the voice was something new under the sun and the not-quite-flat affect was pure cult. No way would a woman who looked like that and wrote such whip-smart lyrics ever fail to become a star. No way would any woman who sounded like that ever be more than a novelty success.
One thing you can hear that might split the difference even now is how she had assembled–or latched onto–a band that could do most anything (never mind whether the vocal is from a Betty Boop contest in a Dada club, why is the guitar break from a spaghetti western?….Forty years later and it’s still confusing.) Of course, we know which way it went. She changed just enough. I’m glad. But I’m glad this exists, too. The world can always use a smile, especially if there will never be any way to know whether the joke’s on you.
6) Brenton Wood18 Best (1991)
Southern born, L.A. raised (and based) soul singer who you probably think just about defines “journeyman.”
I’d give this a close listen before you settle on a conclusion. His two big hits, “Gimme Little Sign” and “The Oogum Boogum Song,” catch him in prime form, but he stretched that form so gently and often that his comp amounts to a mysterious shape all its own.
I wasn’t surprised, reading up on him, to find he was an acolyte of L.A. r&b legend Jesse Belvin–Wood’s style seems an updating of the Belvin ethos. He floats like a butterfly, and, as this goes along, you start wondering just how many places he can land without getting swatted. Pretty soon, you’ve listened to the whole thing with a smile on your face and you know why he was a hero everywhere from East L.A. to the Carolina beaches to Leslie Kong’s island.
5) Neil YoungTonight’s the Night (1975)
Along with 1979’s Rust Never Sleeps, my go-to Neil Young.
I seriously hope these are the two bleakest albums the man has recorded. But, being hooked on them, I don’t know if I can relate to him being any happier. (Which, except for “Rockin’ in the Free World”–where he ain’t all that much happier–he isn’t on any of the other stray tracks I love from across his career.)
One thing I admire is that he never made another Death Record. It’s not only cheating if you make more than one, it means you’ve made less than one. Now I hear there’s a live version from 1973, when this was recorded. Some say it’s even bleaker.
I’m thinking hard on whether that makes two…and whether I really want to go there to find out.
4) Elton JohnRock of the Westies (1975)
Along with 1973’s Goodbye Yellow Brick Road, my go-to Elton John album. I don’ t know if this and Tonight’s the Night are my favorite 1975 albums…but if you told me those were the only two I could keep, from a year Fleetwood Mac and Al Green were going strong, I wouldn’t kick.
Pop gems throughout. And if “Grow Some Funk of Your Own,” isn’t Elton’s finest vocal I don’t know what is. It’s certainly Bernie Taupin’s greatest lyric. I don’t know much, but I know when the gay English dude can dance with the pretty senorita in a border town without having a knife pulled on him and being told to get back home, we’ll all be living in a better place.
3) David Lindley, El Rayo-X (1981)
This is a nice debut album from a west coast sideman who had played with everybody who was anybody in the California Rock scene. The closest his ethos comes to resembling a big name’s is probably Warren Zevon, though it’s crossed with Jackson Browne and a light, but persistent south of the border flavor.
There are twelve tracks and eleven of them go down easy.
I made this my impulse buy of the summer on the recommendation of Robert Christgau. He gave it an A- and scribbled something about the drummer and this being the best live music he’d heard from the famous San Francisco scene of the late sixties.
What is it really? A bunch of jamming musicians’ musicians who opened at Monterrey Pop and had the same chance to wow the world that was seized upon by Janis Joplin, Jimi Hendrix, The Who and Otis Redding. As I was listening to it (a not unpleasant experience mind you–they always played better than they sang, even in the studio–but not making me wish I did drugs so I could relate either), I remembered that Christgau once gave B+ grades to Tanya Tucker’s Greatest Hits, Chirpin’ and Beauty and the Beat.
I know taste is subjective, but the onset of senility can’t be discounted.
1) Smokey RobinsonSmokin’ (1978)
CD version of Smokey’s live album from ’78. Long difficult to find on vinyl so this is the first time I’ve heard it.
It’s a wonderful album, filled with great moments from both the singer and his crack touring band. Needless to say, they don’t lack for material. I especially love the interaction with a black audience neither he nor they had reason to suspect would become permanently mixed again when the following year’s “Cruisin'” put his solo career back in the cultural space he had earned as frontman for the Miracles. And Smokey was as great on stage as he was in the studio–just one more way he was the complete poet Bob Dylan surely meant when either his mind or his mouth called him America’s greatest living example of same.
And nothing–not even “Mickey’s Monkey”–can match the first moment, when he steps to the mike in front of what he must have assumed would always be Black America and only Black America to open the show with “The Tracks of My Tears” and invests it with such shattering intensity it feels like he’s trying to save the American Experiment single-handed–and as if he just might be the only man who can.
If you lived through 1978, it might take you the rest of the day to shake that off.
I’m chalking up the album’s obscurity to the same forces that killed Leslie Kong.
Leaving New York City through the Lincoln Tunnel, you drive through the neighborhood known as Hell’s Kitchen. On Tenth Avenue, the kids have for many years approached stopped cars at traffic lights and wiped their windows, hoping for quarters. One afternoon in 1964, the Four Seasons’ Bob Gaudio was leaving the city on his way home to New Jersey when he noticed that the kid smearing the glass was a girl.
“I saw her face–just the picture of her face and the clothes tattered…with holes in her stockings, and a little cap on her head,” Gaudio told Fred Bronson, author of The Billboard Book of Number One Hits. She finished the job and stood back as Gaudio searched his pockets for change. To his mortification, he had none. The smallest thing he had was a five.
“There was a split second where I said, ‘I can’t give her a five dollar bill.’ But I couldn’t give her nothing. So I gave her the five dollar bill. The look on her face when I was pulling away–she didn’t say ‘Thank you,’ she just stood there with the bill in her hand and I could see her in the rearview mirror, just standing in disbelief in the middle of the street with the five dollars. And that whole image stayed with me; a rag doll is what she looked like.”
(The Heart of Rock & Soul, Dave Marsh, 1989)
Jersey Boys, the musical based on the lives of the original Four Seasons, Frankie Valli, Bob Gaudio, Tommy DeVito and Nick Massi, closed its decade-plus run on Broadway this past Sunday, after playing 4,642 shows.
The one I saw in December, 2005, was in the first hundred…and thereby hangs a tale I’ll never have a better reason to share:
Back around 1969, when the Merritt Square Mall in Merritt Island, Florida opened, they had a record store.
I never went near it.
Throughout the early seventies, whenever my ten, eleven, twelve-year-old self ran loose in the mall and I happened to be walking anywhere near the record store, I always made a point of crossing over to the other side. I wasn’t under any instructions or warnings. I just thought the place looked fishy. The people who always–and I mean always–hung around the entrance looked a little too much like the pictures you saw of the Manson Family.
Oh, sure, I knew they were probably harmless. We had hippies at church now and again.
But why take chances?
Bottom line is, I never saw the inside of a record store. Not until later.
Later, I saw the inside of many record stores, more than I can possibly remember. But in those days, I heard very little of what was on the radio anyway. Even if I had cared to brave the Mansonoids at the record shop, there was no need. Let them live in their world. Let me live in mine. If Jesus ever compelled me to witness to them, I would cross that bridge when I came to it.
Until then, I deemed it best to leave well enough alone.
That all changed after we moved to North Florida in 1974. Not right away. I listened to the radio a little more because my parents seemed to play music stations a little more. I have no idea why. Maybe there just weren’t any interesting talk and/or public radio stations where we lived now, just like there weren’t any hippies.
The real change came in the fall of 1975, when my Memphis nephew, who is five years older than me (19 to my 14 then), moved in with us.
My Memphis nephew didn’t go anywhere without the radio playing music. If we went somewhere in the car, he played the radio. If we went to work on one of my father’s paint contracting sites, he played the radio. If we were just sitting in my room, shooting the breeze, he played the radio.
It was kind of interesting, kind of fun, not much more. Then, come the last few weeks of 1975, the radio started playing this:
For the next few months, wherever I was, if my nephew wasn’t there to turn the radio on, I turned it on myself. And, for the next few months, I never had to wait more than half an hour to hear “December, 1963.”
Then, as such things happen–as I did not quite yet know such things happened, never having stopped to think about it–it no longer came on every half hour, or even every hour.
Not long after that, it didn’t come on every day.
And not too long after that, it didn’t come on at all.
I thought it might be okay, though, because, in the interval, I had made a discovery.
One day, while strolling through the local Sears store in Dothan, Alabama, I had happened across a bin full of 45’s.
I only knew what a 45 was because my sister left a few behind when she got married and moved out. By a few, I mean three: “Ode to Billie Joe,” “We’ll Sing in the Sunshine” and a Little Richard record which was too beat up to play (and hence too beat up to hang on to, which is why the title has slipped my memory…”Tutti Frutti”? “Long Tall Sally”? “Rip It Up”?…the memory hazes…anyway, my sister had good taste).
Now, when I say I knew what a 45 was, I don’t mean I fully grasped the concept.
Oh, no, far from it.
For one thing, I thought they made 45’s to sell to people after a song was played on the radio enough to be considered a hit. That the 45 might be the actual method of distribution to the radio stations that played the music had never occurred to me.
So, in the spring of 1976, I was excited to discover that a 45 which contained “December, 1963,” by the Four Seasons, was actually laying in a record bin in a Sears store not twenty miles from my house, where I did at least have a record player.
I would have been a lot more excited if I had possessed the $1.19-plus-tax required to purchase the 45 or any means of acquiring that sort of cash in the foreseeable future.
Such was not the case.
The first impulse I ever had to buy a 45, then, was accompanied by the first of many similar experiences where the record I held in my hand was beyond the power of my eternally limited purse.
I mean, it wasn’t the sort of thing I had any chance of cajoling my father into buying for me.
And all the money I made working for him went to my college fund.
By “all the money” I mean every last red cent.
What to do?
Start working on the idea that maybe the world wouldn’t end if the college fund was spared a few bucks every now and then? Yeah, that sounded like a plan.
My dad was Scottish. He was also attending bible college full time and we were subsisting on the poverty wages raised by those weekend paint contracting jobs. Negotiations were bound to be difficult and ongoing.
It took me until the summer to wear him down.
We were back in Central Florida by then. Painting the Orlando-Seminole Jai Alai fronton every summer was the big yearly contract that made going to bible college in the fall and winter possible. If you think painting a jai alai fronton during the summer breaks from attending bible college was a contradiction you obviously didn’t know my dad.
And, if you don’t know what jai alai is, let’s just say it’s a sport closely connected to the term “parimutuel betting.”
Anyway, come summer of ’76, my dad and I were in Orlando, staying at the fronton during the week, commuting to my sister’s house in Titusville (that’s on the east coast of Florida and, yes, the same sister with the good, if limited, taste in 45’s).
Negotiations safely concluded, I one day found myself with five dollars of my own money in my pocket.
Nearby there was a mall. (Searstown? Miracle City? The memory hazes….)
Inside the mall, there was a chain record store. (Camelot? Record Bar? The memory….well, you know what memory does.)
Inside the record store, there was a big bin of 45’s that seemed to have every record in the world, or at least every record on the charts.
On a certain beautiful day in June of 1976–first time I had the chance–I begged a trip to the mall (I was still too young to drive) and found my way to the record bin in the record store.
I had one clear intention.
That was to buy “December, 1963.”
I had the $1.19-plus-tax. I had more than that, enough to buy at least three records that cost that much.
And by then, having cracked the code, there were actually quite a few records I knew I wanted to buy.
But I was determined to make “December, 1963” the first 45 I bought with my own money.
It didn’t happen.
It didn’t happen because there was a little card in the empty slot where “December, 1963” 45’s were being stored and the little card had the number 15 crossed out next to an order date two weeks before.
Seems they crossed out the number next to the order date when they sold out. There were a lot of dates on the card, with a lot of numbers crossed out going all the way back to December of the previous year. All the numbers were crossed out. They had been selling fifteen or more copies of “December, 1963” every couple of weeks for six months straight.
It was clearly going to be at least two more weeks before I got back to the record store and while I was pretty certain they would be reordering (fifteen copies? in two weeks? six months after the record came out?…yes, they would be reordering), I had no confidence they wouldn’t all be sold out again by the time I got back.
And while there were other record stores around, since I couldn’t drive myself, there was no telling when I would see the inside of one of those.
What to do?
Swallow my disappointment and look for other records. Obviously.
Which was how, a month or so before I found a copy of “December 1963” in a Woolworth’s (right next to the jai alai fronton as it happened), this became the first 45 I ever bought:
“Fallen Angel,” was not selling like hotcakes. It had scraped the Top 40 (another concept I was just beginning to grasp). Far from playing every half hour, I had only caught it a few times. I knew I liked it, and it turned out I liked it a lot. But that wasn’t the reason I picked it from the bunch–ahead of “Shannon,” by Henry Gross and “Let Your Love Flow” by the Bellamy Brothers–that particular day.
I picked it from the bunch–and first–because it was a Frankie Valli record and I knew he was the lead singer of the Four Seasons. I did not know, at that point, that “December, 1963” was the first of the Seasons’ many hits he had not sung lead on (he sang second lead, behind Gerry Polci).
Had I known, it probably would not have made any difference. The point for me was to honor the Four Seasons and still walk out of the record store with a record in my hand. The closest I could come, on that day, was “Fallen Angel.”
And, for the next thirty years, that was basically a footnote in my record collecting history: “Fallen Angel” was the first 45 I bought because Frankie Valli was the lead singer of the group whose record I really wanted to buy. And I really wanted to buy that other record in part because it had an impossibly cool vocal sung by someone other than Frankie Valli.
The memory of settling always did bring a smile…and a shake of the head.
This crazy world. What can a poor boy do?
You only get the buy your first record once. Then you gotta live with it. Who knew.
For thirty years, all that was just another stone laid in the pathway of life.
Then came 2005. Thirty years gone by.
In 2005–very late in 2005–I decided to give myself a vacation.
Through a weird series of events, I found myself with a windfall that meant I could go anywhere in the U.S. that a thousand bucks could take me. In my world that is a whole lotta money, but, wherever I was going, I wanted it to be worth it, because I also hadn’t had a real vacation in almost six years.
I was leaning toward Cleveland (hadn’t been to the Rock and Roll Hall of Fame since my last vacation) or San Francisco (hadn’t been there since 1991, when I didn’t get to stay long) or Chicago (1993 and ditto), when, by some freakish chain of coincidences, I was following an internet thread one night and it took me to a rave review of what appeared to be a new Broadway show based on….The Four Seasons?
It’s hard now–after a decade long run, a movie version, a new box set, a hatful of Tony awards and the like–to convey just how shocking this news was at the time.
The Four Seasons on Broadway?
Before that moment, New York wasn’t even on my radar. After that moment, the idea started lighting up my brain.
I hunted around and read more reviews. I investigated hotel and airfare prices. I did mental calculus and then actual addition and subtraction on a scratch pad.
I figured I could just barely manage it.
And I figured I had to, because, well you only live once…and it was the Four Seasons.
I had to come up with a few hundred bucks extra. I had to pre-plan way more of the trip than I had ever planned for any trip before (my understanding was that they didn’t let just anybody in to a hit Broadway show…and that booking a Manhattan hotel was not exactly like stopping off at the Best Western by the interstate). I had to fly in winter (one previous experience, not a good one as I have a habit of developing stopped heads in winter…a stopped head at 30,000 feet is not a pleasant experience…when I did this a third time, in December, 2015, I temporarily lost my hearing).
I began to have second thoughts.
I decided to do a little more research.
I mean, Four Seasons or no Four Seasons, I had never heard anything good about a so-called jukebox musical. How good could it really be?
Before I made this kind of commitment, even for the Four Seasons, I needed to look beyond the hype.
So I asked myself: “I wonder what songs are in this show?”
It seemed an important question because who were the Four Seasons if not their songs? I hadn’t exactly stopped at “December, 1963” after all. Within a year or two of buying my first 45, the Four Seasons had become one of my two or three favorite groups and they had remained that through thick and thin. I had grown used to defending them against all comers–and in those days, there were a lot of comers. To put it bluntly, the Seasons never had the cred that the Beatles or Stones or Beach Boys or Byrds (or any of a dozen other groups) had. For a lot of people (then more than now, though it’s still a problem), they were some kind of early version of Bon Jovi: Sold a lot of records, impressed a lot of girls (and God knows they never count), never got themselves much written about in the proper journals.
Jersey boys indeed.
I knew they deserved better–that they had gotten shafted a bit for lacking a sensitive Brian Wilson-type genius, when dozens of lesser bands had better crit-reps that existed on that and nothing more. And even those who did have something more, even a lot more (think Arthur Lee and Love, think Skip Spence and Moby Grape), still weren’t the Four Seasons.
I knew the Four Seasons and I knew they deserved a hit show on Broadway.
But that still didn’t mean it was a must see.
To make that judgment, I needed to know about the songs. Absent a sensitive genius, the songs would be what such a show rose or fell on.
So I made a point of looking for a song list and was pleasantly surprised to find one. A long one. From an official source (i.e., the show’s website).
Long and reliable then.
So long that it took me more than a glance or two to get to the bottom–by which time I had concluded that they certainly were being thorough. Except for “Silence is Golden”–admittedly a B-side–they had everything in there that I would have insisted on if they had asked me.
And I still wasn’t quite convinced.
Yes they were hitting all the high points. All the songs any Seasons’ lover would insist on. But what about filling in the cracks? In a catalog as deep as the Four Seasons’ shouldn’t there be at least one off-beat pick? One sign of eccentricity? “C’mon Marianne” was nice (speaking of sensitive genius bands, maybe the show would mention how the Doors lifted the intro for “Touch Me,”) but it was still a pretty big hit and available on every major Seasons’ comp I ever saw.
I kept looking for a sign….
And then, very near the end, two or three songs from the bottom of a list of dozens, I saw this:
That’s when I knew I was going to New York.
* * * *
So I went. Had a grand time. Got swept away by the museums and the shows (if I was going, I wasn’t putting all my eggs in one basket!) and the food and all the other stuff people get swept away by if they tourist in New York with at least a little money in hand.
I flew up on a Thursday. I went to a museum and an off-Broadway show on Friday. I went to another museum on Saturday morning and a Broadway show on Saturday afternoon. I saw St. Patrick’s Cathedral by moonlight. I ate fabulous meals in little hole-in-the-wall joints that my dad had trained me to spot back in the days when we traveled together.(“Watch where the Chinese people go,” he told me once when we were in San Francisco’s Chinatown. We did, and, if you ignored the cockroach that crawled out of the phone book on the chipped Formica counter and concentrated on the food, it was beyond belief.) I walked around for two days with a giddy smile on my face. Hell, I even figured out the subways. Not so hard, I found, when you were always going to and from Manhattan (i.e. Grand Central)–another trip, years later, when I made the mistake of chintzing and staying somewhere else, learned me that it ain’t hard to turn into an Out-of-Towner.)
And then, finally, it came Saturday night. The big event…
I wore a black denim shirt and white jeans. I didn’t care if it was after Labor Day. I was going to see Jersey Boys on a Saturday night on Broadway, a month after it opened a hop, skip and jump (or anyway a fast cab ride) from Newark (where at least one Broadway blue-nose had suggested it should have stayed). A month after it opened, Jersey Boys was being heavily attended by a mostly Jersey crowd–by the one group of people in the world who didn’t need to be told that the Four Seasons were every bit as good and important as the Beatles or the Beach Boys.
Give or take a vowel or two, I was, at last, among my people.
And still I wondered.
Would it really be worth all that?
Then the show started with a rap version of “December, 1963,” and I really started to have my doubts.
Then the guy playing Tommy DeVito (Christian Hoff–a few months later he would win a Tony) walked out on stage and announced that was the version that had just been a hit in France.
Thirty seconds later, I said to myself: “This is where I’m supposed to be.”
* * * *
Jersey Boys is a long show. Two-and-a-half hours with a fifteen minute intermission.
By the intermission, I was wandering around the lobby thinking of all the people I wished had been there with me. I was also wondering how it was possible for me to have had such high expectations and see them all surpassed within the first five minutes–and then surpassed again and again.
I wondered if they could possibly keep it up.
Five minutes into the second half I stopped wondering. I knew it wasn’t going to play me–or itself–false.
Then, near the very end, the stage went dark and a familiar chord rose from the orchestra pit…and, in the space of that single chord, I remembered what I had forgotten.
I had forgotten “Fallen Angel.”
Not only had I not thought about it since I arrived at the August Wilson Theater or in the city of New York, I hadn’ t thought about it since I saw it in the show’s song list on-line and knew instantly where I would be a week before Christmas in 2005.
It was the forgetting that made it memorable. If I had been thinking about it all along, or anywhere along, I would have known it was coming–would have been wondering how they were going to fit it in, when, unlike all those dozens of hits known to all, it could not really be part of the Four Seasons’ story.
Turned out it was the heart of the Four Seasons’ story. By the time I heard that first chord and it all came rushing back–1969, 1975, 1976, a month before–I knew a whole lot about the Four Seasons I hadn’t known before and I also knew that the young woman walking across the stage was representing the ghost of Frankie Valli’s daughter, whose death-by-overdose he blamed on an absent fatherhood created, in part, by the fame and fortune he had crawled across broken glass to reach, and in larger part by the three hundred nights a year he played for a decade and more to pay off Tommy DeVito’s seven-figure gambling debts because DeVito had gone to prison rather than snitch on him when they were teenagers back in the ‘hood.
That’s the best moment I’ll ever know in a theater, sitting with two thousand locals who worshiped the Seasons and realizing I was probably the only one who knew what was coming from the first chord–the one unrecognizable, eccentric, off-beat musical selection that was the show’s big payoff. All those dozens of hits, but only one of them was called “Fallen Angel,” so, to fit the harshest fact of Frankie Valli’s life–and Tommy DeVito’s–it had to be there, even if it never made the top thirty.
The show didn’t end there. It ended with the Seasons reunited, rising from the floor at their Rock and Roll Hall of Fame induction (which also served as Valli and DeVito’s personal reunion after years of not speaking) to sing the greatest of the records that had made them the truest American working class heroes between the fall of the original fifties’ legends and the rise of Creedence Clearwater Revival*….
which made #1 in 1964, in the teeth of the British Invasion, as the A-side of my pick for the greatest-ever two-sided single, the B-side of which was…
…the only thing the show was missing.
But, by then, I had forgotten all about that, too. Even with an un-programmed encore of–you guessed it–“December, 1963,” giving me one last reminder that this had been where I was supposed to be, and a three-block hike to my hotel that amounted to levitating above the sidewalk, I knew which highlight I would always remember first.
My only regret is that–like buying that first 45–it could only happen once.
*The fantastic book for Jersey Boys was written by Marshall Brickman and Rick Elice. During one of the early development meetings, Brickman mentioned to Gaudio that he had missed out on the Seasons in the sixties, in part because he had been so heavily engaged politically, especially in protesting the Viet Nam war. Gaudio’s reply was “Well, when you’re writing this show, just remember that my audience were the ones fighting it.” The beat goes on.
1) I didn’t include solo artists who are in the Rock and Roll Hall of Fame as part of a group or one off groups who contain Hall of Fame members (so no Jerry Butler or Derek and the Dominoes for instance).
2) I didn’t include comps (no Dionne Warwick, Paul Revere and the Raiders, etc. who I know mostly through greatest hits packages).
3) I didn’t include anyone who has been inducted in one of the “extra” categories (so no Carole King, since she’s in as a songwriter).
4) I didn’t include anyone who isn’t eligible yet (No Roots or Moby, for instance….you’d be surprised how often this comes up in on-line discussions…for the record, an artist becomes eligible in the “Performer” category 25 years after the Hall determines they released their first record).
5) As the title of this post indicates, I didn’t include artists who have been nominated but not inducted (so no War or Spinners, who would otherwise have multiple entries)
6) This is not an argument that any or all of these acts should actually be in the Hall of Fame. Some should be, some shouldn’t, but I’ve made those arguments elsewhere (you can check the Rock and Roll Hall of Fame category on the right for further details if interested).
All that to keep it simple. Like to 25 or so**. Otherwise it was gonna get complicated. (**Note, that 25 was a general number for the total. Pretty sure it’s gonna be more like 30…or so. I keep remembering.)
So, in roughly chronological order (by year, but I didn’t look up month and day for those in the same year):
The Shangri-Las I Can Never Go Home Any More (1965)
Note: I’ve never actually owned this album. I do have the original release Shangri-Las 65, which would be worthy on its own. This drops “Dum, Dum Ditty” (perhaps their weakest track) and adds the title track (one of their greatest) so it’s a no-brainer it’s the better album, even before taking the killer cover photo into consideration. I have a private theory that this cast a longer and deeper shadow than Rubber Soul. Me and Amy Winehouse are going to collaborate on a white paper proving this theory next time we get together at the big think tank in the sky. No neocons allowed.
Note: A racially transgressive sound that’s still radical. Oh, what might have been.
Pick to Click: “Signed DC” (pretty sure the Moody Blues cashed the intro into “Nights in White Satin”…roughly speaking)
Love Forever Changes (1967)
Note: This is enough of a touchstone of its era it actually creates a backlash of sorts. You can prove how hip you are by preferring some other Love album to this one. Heck, you might even be right. I’ll just make my own distinction by saying several of Love’s other albums are great. This one’s on the order of a miracle. (Even with the guess-you-had-to-be-there cover, which will be a developing theme here!)
Note: American version of an LP that was called Mighty Garvey in England (with a slightly different track selection). In case that and the cover aren’t 1968 enough for you, it actually has a (wonderful) song called “Cubist Town.” Didn’t sell, even though the title track was a big hit, and didn’t get them any street cred, even though it didn’t sell. I picked it up on a very strange and exhilarating day in 1979 which also involved Boone, North Carolina, a surly record store manager, choir practice, “Beach Baby,” “Cruel War,” a made-for-TV Monkees comp and my first ever speeding ticket. Basically the kind of day you can only have when you’re eighteen. Either that or in a dollar store somewhere a short time later. The memory hazes. Either way, It’s been making me smile ever since.
Note: Most of the soul giants have at least been nominated. No love for Clarence. Then again he never sounded like a guy who expected to be treated fairly and on his first album, his mournful side meshed perfectly with his definitivelly wicked sense of the absurd.
Note: Did somebody mention 1968? Based on the cover, South might have been hanging out at Haight-Asbury. He was actually hanging out in Nashville and Atlanta which meant the entire world had gone crazy or he was some kind of visionary who couldn’t be explained by ordinary marketing schemes. I’ll take both. The still, small voice in the back of everyone’s mind, who stayed there even after “Games People Play” broke wide open.
The Turtles The Turtles Present the Battle of the Bands (1968)
Note: Chasing cred, they parodied themselves and everybody else. They sort of got the cred and would have really gotten it if the biggest parody (“Elenore”) hadn’t gone top ten everywhere in the English-speaking world. That’s all very representative. It should have been a catastrophe on every level. Instead it came out…wistful. They probably liked themselves better than they thought.
Pick to Click: “Earth Anthem” (or else “Surfer Dan”…some choices really are too existential to permit any sort of oppressive concept like finality)
Mother Earth Presents Tracy Nelson Country
Note: Actually this and Mother Earth’s Living With the Animals got swept away in the great CD selloff of 2002 (along with about 98 percent of the collection I had been building for fifteen years…life’s for making mistakes and regretting them as they say) and I’ve never managed to either forget or replace them. There’s nothing here to match Animals’ “Down So Low” but my memory is that this one was more cohesive. Brilliant in any case and as foundational of the alt-country concept as anything Gram Parsons was involved in.
Fairport Convention What We Did on Our Holidays (1969)
Note: Let’s put it this way. The name of the album is What We Did on Our Holidays. One of the cheerier tracks is called “The Lord Is in This Place…How Dreadful Is This Place.” That’s telling it like it is baby!